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Michael Mann’s
Public Enemies delves deep into the psyche of the mob, writes Ervell E. Menezes SHADES of Mike Newell’s Donnie Brasco in its depiction of the mafia but a great deal more violent, Michael Mann’s Public Enemies is a microscopic look at the mob and its utter ruthlessness which led to the birth of the Federal Bureau of Investigation (FBI) and the creation of a legend named J. Edgar Hoover (Billy Crudup). But where Newell dwelt more on heavy dialogue, Mann goes to town with graphic violence in the most excessive Sam Peckinpah mould.
It is the mob psychology that Mann is out to capture and he does so in an extremely stylised manner. Add to this Dante Spinotti’s high density (HD) and incisive cinematography, and the fare is full of gloss and glamour. Music too is used judiciously and a two bars of ‘Bye, Bye Blackbird’ periodically repeated waft in the wind giving the romance an enigmatic touch. It seems to be the new approach to the old favourite songs and saves it from the obvious "entire song." Then Hollywood doesn’t miss a chance of regurgitating the past and the 1930s romance Manhattan Melodrama gets its due footage as we strain to catch the names of Clark Gable, William Powell and Myrna Loy. Our own heroine Marion Cottilard is used judiciously but sparks begin to fly. Johnny Depp who played in the shadow of Al Pacino in Donny Brasco gets more of the action but refrains from making a glutton of the part. Christian Bale, Jason Clarke, David Wiseman and Stephen Dorff — all underplay their parts. If only the graphic violence could have been curtailed a bit. Mann’s defence will be it helped to create a purging of feeling, catharsis, but for me its doesn’t hold water. Excessive violence is more damaging than a surfeit of sex.
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Based
on a book Public Enemies: America’s Greatest Crime Wave and the
Birth of the FBI, 1933-34, the screenplay by Ronan Bennett,
Michael Mann and Ann Bidderman delves deep into the psyche of the mob
without going individually to any one character. True, John Derringer
(Johnny Depp) is the focal point (a weapon has been named after him)
and his chemistry with his moll Billy (Marion Cottilard) depicts his
unmitigated obsessiveness but that apart Melvin Purvis (Christian
Bale), the cop who shadows him, and the gang members "Red"
Hamilton (Jason Clarke), "Pete" Pierpont (David Wenham),
Alvin Krapis (Giovanni Ribisi) and Baby Face Nelson (Stephen Graham)
are treated rather skittishly.